On Saturday, July 1, 1950, Hans Namuth, who had rented a house for the summer in Water
Mill, Long Island, attended an opening in East Hampton at Guild Hall, a small community arts
center. Jackson Pollock was among those featured in the group show devoted to the work of
artists living in the region, and he was present at the reception.
Namuth had seen Pollock's work
at the Betty Parsons Gallery in New York City the previous November. He did not particularly
care for Pollock's painting, but Alexey Brodovitch, his teacher at the Design Laboratory at the
New School for Social Research and art director of Harper's Bazaar, had persuaded him that
Pollock was an important artist. That hot afternoon Namuth introduced himself to Pollock and
asked if he could come to his studio in the nearby town of Springs and photograph him.
Pollock's wife, painter Lee Krasner, aware of the importance of media attention, encouraged
Pollock to work with Namuth. From July through early October 1950, Namuth took more than
five hundred photographs of the artist. As Pollock danced about his huge canvases and
articulated their surfaces with dripped and thrown paint, Namuth captured the kinesthetic essence
of the artist's work.

These seminal photographs forever changed the way the public viewed Pollock's
paintings; they also forever changed Namuth's life. While Namuth earned his living with a
variety of photographic assignments, both before and after he took his landmark Pollock
portraits, his avocation--no, his passion--from this time onward became photographing creative
personalities. His oeuvre--at least the part of it that was most important to him--is a forty-year
chronicle, mainly of artists, but also of architects, writers, and musicians, who have made
significant contributions to recent American cultural history.

Namuth was born on March 17, 1915, in Essen, Germany. His otherwise uneventful early life
was shaped by his interest in political ideas and the arts, the former fostered by the German
Youth Movement, the latter by his mother. In July 1933, Namuth was arrested for distributing
anti-Nazi literature. His father, who had joined the Nazi Party in 1929 after a series of economic
losses, secured his release and, to assure his safety, obtained for him a tourist visa for France.

In Paris, the charming and gregarious Namuth supported himself with a variety of low-paying jobs and made numerous friends among the German expatriate community. Of particular
importance was his friendship with fellow German Georg Reisner, who, in the summer of 1935,
invited Namuth to assist him in a portrait photography studio that he had established in Puerto de
Pollensa, Majorca. This casual, serendipitous introduction to photography would forever shape
Namuth's life.

In November, when the season in Majorca was over, Namuth and Reisner returned to
Paris, where they maintained a studio and lived with Georg's mother, who ran a "pension à
famille" at 58, rue Perronet, Neuilly-sur-Seine. They supported themselves primarily as
photojournalists, although from time to time they made portraits of friends and acquaintances. In July 1936 an assignment from Vu magazine to photograph the Workers' Olympiad
placed them in Barcelona at the outbreak of the Spanish Civil War. During the next nine months,
the two took dramatic and compelling photographs, which were published in leading European
newspapers and journals, of the conflict's impact on the citizens of this divided country.

Namuth and Reisner returned to Paris in the spring of 1937 and remained there working
as photographers until fall 1939 when, with the escalation of hostilities between France and
Germany, they, like other adult German males, were interned by the French. In December,
Namuth joined the French foreign legion to escape confinement. Discharged in October 1940, he
then fled to Marseilles where, with the assistance of Varian Fry and the Emergency Rescue
Committee and with the political and financial support of the American composer Samuel L. M.
Barlow, he made his way to the United States, arriving in New York City in April 1941.
Regrettably, Reisner, terrified by the thought of further imprisonment and probable repatriation
to Germany, committed suicide in December 1940. In 1943, anxious to support his new
homeland in its fight against the Nazis, Namuth joined the U.S. Army and served with the
intelligence forces in Western Europe.

After the war, Namuth's goals were to raise a family (he had married in 1943), to travel,
and to photograph as a hobby. To "brush up," Namuth first took classes with Josef Breitenbach, a
fellow German immigrant, and then, in 1949, with Alexey Brodovitch.

Brodovitch played a crucial role in Namuth's life, psychologically and practically. He not
only restored Namuth's confidence in himself and his ability to fashion a career from
photography, but he assisted his reentry into the professional world by placing Namuth's early
efforts at advertising photography in Harper's Bazaar. Culturally attuned, he alerted Namuth to
Pollock's significance. He also recognized the importance of Namuth's Pollock photographs and,
in spring 1951, was the first to publish them.

Throughout the 1950s and into the early 1960s, Namuth photographed an extensive
number of artists associated with Abstract Expressionism and the New York School, among
them Willem de Kooning, Robert Motherwell, Barnett Newman, Mark Rothko, and Clyfford
Still. These images were complemented by assignments from magazines such as Holiday,
Harper's Bazaar, and Horizon, which enabled him to add architects, writers, and musical
personalities to his oeuvre. Among these stunning and sensitive portraits are images of Walter
Gropius, Ludwig Mies van der Rohe, Frank Lloyd Wright, Allen Tate, John O'Hara, Edward
Albee, Jerome Robbins, Stephen Sondheim, Oscar Hammerstein, and Richard Rodgers.

Beginning in 1979 and continuing until March 1983, Namuth had nineteen covers on Art News.
These assignments led to insightful images of such art world notables as Jasper Johns, Louise
Nevelson, Jim Dine, and Romare Bearden. Subsequently, the French publication Connaissance
des Arts became a major outlet for Namuth's portraits of artists and architects, and from 1983
until his death, the magazine published more than one hundred photographs by Namuth,
including images of Philip Johnson, Isamu Noguchi, and George Segal.

Namuth was able to convey the essence of a wide range of talented individuals, but he
was drawn to artists in particular because he identified with their goals and aspirations: "An artist
it seems to me, is more accessible, easier to come to terms with. We [italics added] are related,
and therefore on common ground. . . . There is a mutuality of outlook, and a respect for the other
person's vision." Namuth also considered rapport with his subjects to be a key ingredient in
successful portraiture. "Without it," Namuth once wrote, a "photograph might just as well have
been made in one of those booths that take passport pictures by machine."

Namuth was fortunate. He possessed an innate ability to meet and charm people. These
talents--fundamental to rapport--along with obsessive determination, served him well as a young
man in making his way in politically turbulent Europe before World War II, and they served him
equally well in America after the war as he focused on his goal of recording, both in still
photography and in films, "the great contemporary masters at work." Namuth may have arrived
in America homeless and stateless, but in the half-century that he lived in this country, he forged
relationships that enabled him not only to make telling portraits but also to create for himself a
community of lively and interesting friends and acquaintances.

The seventy-five photographs that form the Namuth collection at the National Portrait
Gallery are only a sample of the portraits that the photographer created from 1950 to 1990--that
is, from the time of his first image of Jackson Pollock to Namuth's untimely death in an
automobile accident on October 13, 1990. They nevertheless serve to demonstrate both the range
of his friendships and his approach to portraiture. For Namuth's goal in his relatively simple and
direct images was to portray the essence of an individual's persona with a minimum of tricks.